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By Guillaume Apollinaire, Dorothea Eimert

Les Demoiselles d'Avignon: 5 younger women that modified smooth paintings eternally. Faces obvious at the same time from front and in profile, angular our bodies whose as soon as voluptuous female varieties disappear in the back of uneven traces - with this paintings, Picasso revolutionised the whole heritage of portray. Cubism used to be hence born in 1907. remodeling average varieties into cylinders and cubes, painters like Juan Gris and Robert Delaunay, led via Braque and Picasso, imposed a brand new imaginative and prescient upon the realm that used to be in overall competition to the rules of the Impressionists. mostly subtle in Europe, Cubism constructed speedily in successive stages that introduced paintings background to the entire richness of the 20 th century: from the futurism of Boccioni to the abstraction of Kandinsky, from the suprematism of Malevich to the constructivism of Tatlin. Linking the middle textual content of Guillaume Apollinaire with the reports of Dr. Dorothea Eimert, this paintings bargains a brand new interpretation of modernity's the most important second, and allows the reader to rediscover, via their biographies, the valuable representatives of the circulate.

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Much like a huge nugget of raw gold, the human skull serves only to give a final definition to the metaphorical meaning of the form: this is a requiem, though perhaps an unusual one. In the foreground, “face to face” with the death’s head, stands an object as mundane as an empty household vessel—a small pail? —seen even more clearly and impressively in the sketch. In the composition, this object is no less meaningful than the skull—and, perhaps, not only in the composition. Not being a traditional attribute of the iconographic Vanitas theme, such an extravagance in this serious context must have had a very significant meaning, even for Picasso’s unorthodox imagination.

It seems as though the new form itself—built on the expressive rhythm of strong, sinuous lines, on sharp, clean, articulated planes, on the internal equilibrium of the entire pictorial structure, this morphologically clear and monumentally impressive form—produced in the artist’s imagination impersonal, timeless, powerful images. What could be vaguely felt in the works of 1907 as something existing before time, as some background to eternity, now, thanks to the characteristics of form, becomes objective reality, emerges in the thematic solution itself.

Shortly thereafter, Braque found a roll of wallpaper with an oak pattern, which he then cut into pieces and integrated them into a drawing. These endeavours eventually led to pure surface textures being contrasted against one another and forming a coherent artwork. Braque and Picasso considered their studio to be a place completely devoted to craftsmanship. Using everyday materials, they experimented with extending art into the realm of the ordinary. In 1912 and 1913, they chose paper as their primary medium.

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